Sunday, 31 October 2010

TOKYO (TR) – Fans of analog music were dealt another blow when consumer electronics company Panasonic announced earlier this month that it would be discontinuing the audio products within its Technics brand, most notably the legendary line of analog turntables.

On October 20, the company said that it was winding down production of the Technics SL-1200MK6 analog turntable, the SH-EX1200 analog audio mixer and the RP-DH1200 and RP-DJ1200 stereo headphones due to challenges in the marketplace.

“Panasonic decided to end production mainly due to a decline in demand for these analog products and also the growing difficulty of procuring key analog components necessary to sustain production,” the company said in statement issued to The Tokyo Reporter.

Last year, Japan’s last remaining vinyl pressing plant, owned by the production company Toyo Kasei, produced around 400,000 discs from its multifloor factory in Yokohama’s Tsurumi Ward, a far cry from the industry’s peak of 70 million four decades ago.

Panasonic said that sales of analog decks today represent roughly 5 percent of the figure from ten years ago. At present the company has no plans for putting analog turntables back on the market.

The SL-1200 series turntable, which enjoys a massive following in the DJ community, had been in continuous production since 1972. Since then 3.5 million units have been produced, making the brand’s purple and gray logo (“Technics” written twice) an icon in clubs.

The turntables are acclaimed for their quick start-up and reliability, achieved through its durable Direct Drive turning mechanism (via magnets, as opposed to being belt-driven) and its heavy 12.5-kilogram base (composed of what is known as the Technics Non Resonance Compound), which isolated the platter so as to reduce feedback and the chance that the cartridge would jump.

Japan’s DJ community was abuzz, notably on the social-networking site Twitter, following the announcement. Tatsuo Sunaga (dubbed “The Record Chief”) said in an email that the announcement was unfortunate.

“I’ve been using these products for around 20 years and rarely suffered a breakdown,” explained Sunaga, who is a club DJ, spinning jazz up and down Japan, and the author of “I’ll Take That Record!” — a chronicle of a three-year vinyl-buying spree. “This type of excellence is something not seen globally, and I think the fact that one doesn’t need to purchase subsequent models as being the reason for forcing the move.”

But even if turntable manufacturers targeting top DJs continue to shrink their output, Sunaga sees those who prefer analog today as being too obsessed with the format to allow it to become extinct. “I don’t think analog users will lose interest,” he said.

Regarding the Technics brand itself, nothing has been decided other than the discontinuation of the mentioned products, the statement said".

Sunday, 24 October 2010

The three members of Run–D.M.C. grew up in the neighborhood of Hollis in the Queens borough of New York City, USA.[3] As a teen, Simmons was recruited into hip-hop by his older brother, Russell, who was then an up and coming hip-hop promoter. Simmons appeared onstage as a DJ for rapper Kurtis Blow, who was managed by Russell. Performing as "DJ Run, Son of Kurtis Blow," the younger Simmons soon began trading rhymes with Kurtis Blow and beat-boxing for the audience.[6] He would often come back to Hollis and play his taped performances for his friend Darryl McDaniels. Previously, McDaniels had been more focused on athletics than music, but soon began to DJ after purchasing a set of turntables. Simmons convinced McDaniels to start rapping, and though McDaniels wouldn't perform in public, he soon began writing cool and fantastic rhymes and calling himself "Easy D."

Simmons and McDaniels (who, over time, had overcome his early stage fright) started hanging around Two-Fifths Park in Hollis in late 1980, hoping to rap for the local DJs that performed and competed there, and the most popular one known to frequent the park was Mizell, then known as "Jazzy Jase". Mizell was known for his flashy wardrobe and b-boy attitude, which led to minor legal troubles as a teen. Thereafter, he decided to pursue music full-time and began entertaining in the park soon after. Eventually, Simmons and McDaniels rapped in front of Mizell at the park, and the three became friends immediately. Following Russell's success managing Kurtis Blow, he helped Run record his first single, a song called "Street Kid." The song went unnoticed, but despite the single's failure, Run's enthusiasm for hip-hop was growing. Simmons soon wanted to record again—-this time with McDaniels, but Russell refused, citing a dislike for D's rhyming style.[6] After they completed high school and started college in 1982, Simmons and McDaniels finally convinced Russell to let them record as a duo, and they recruited Mizell (who now called himself Jam-Master Jay) to be their official DJ. A year later, in 1983, Russell agreed to help them record a new single and land a record deal, but only after he changed McDaniels' stage name to 'DMC' and marketed the group as "Run–D.M.C.", a name which, incidentally, that the group hated at first. DMC said later, “We wanted to be the Dynamic Two, the Treacherous Two — when we heard that shit, we was like, ‘We’re gonna be ruined!’ ”[7]

After signing with Profile Records, Run–D.M.C. released their first single "It's Like That/Sucker MCs", in late 1983. The sound was a revolution in hip hop: aggressive, cocky rhymes over spare, minimal, hard-hitting beats. Previously, rap music had been chiefly funk and disco-influenced, but Run–D.M.C.'s sound, like their name, was unlike anything that had been heard in rap before. The single was well received, peaking at #15 on the R&B charts.[8] The trio performed the single on the New York Hot Tracks video show in 1983. Emboldened by their success, Run–D.M.C. recorded their eponymous debut and, released in 1984, Run–D.M.C. was an instant hit and, arguably, rap's first classic album.[citation needed] Hit singles such as "Jam-Master Jay" and "Hard Times" proved that the group were more than a one-hit wonder, and the landmark single "Rock Box" was a groundbreaking fusion of raw hip-hop and hard rock that would become a cornerstone of the group's sound and paved the way for the rap rock movement of the late 1990s.

Run–D.M.C.'s swift ascension to the forefront of rap with a new sound and style meant that old school hip hop artists were becoming outdated. Along with pushing rap into a new direction musically, Run–D.M.C. changed the entire aesthetic of hip hop music and culture. Old school rappers like Afrika Bambaataa and Melle Mel of Grandmaster Flash and the Furious Five tended to dress in the flashy attire that was commonly attributed to rock and disco acts of the era: tight leather, chest-baring shirts, gloves and hats with rhinestones and spikes, leather boots, etc. Run–D.M.C. discarded the more glam aspects of early hip hop's look (which ironically, was later readopted in 1990 by more "pop" rappers MC Hammer and Vanilla Ice) and incorporated a more 'street' sense of style such as fedoras, leather jackets, and unlaced Adidas shoes.[1] The group's look had been heavily influenced by Mizell's own personal style. When Russell Simmons saw Jay's flashy, yet street b-boy style, he insisted the entire group follow suit.[9] Run said later:

“ There were guys that wore hats like those and sneakers with no shoestrings. It was a very street thing to wear, extremely rough. They couldn’t wear shoelaces in jail and we took it as a fashion statement. The reason they couldn’t have shoelaces in jail was because they might hang themselves. That’s why DMC says ‘My Adidas only bring good news and they are not used as felon shoes.'[10] ”

That embrace of the look and style of the street would define the next 25 years of hip hop fashion. (Wikipedia)

Monday, 11 October 2010

MASSIVE show this week.... Approx 8 years ago, Gilles Peterson and DJ Shadow came together for a special Brownswood Basememnt show.... last week they did it again and what a show it was......

"Gilles was joined by super crate digger and music icon, DJ Shadow for a special Brownswood Basement.

The pair dive into the music, with a whole host of rare tunes from all corners of the globe ; Australia to Hungary and tracks from Meditation Singers, Omar Khorshid, Andrew Wartts, Darling Dears and more.

They also get deep into conversation, chatting about how DJ Shadow gets through 400,000 7" records, Korean psych, record shop tactics & and his ultimate record!" Quoted from BBC Website

Sunday, 3 October 2010

"Titling an album Black Soul is a risky move. Soul can mean anything, depending on who you’re talking to. And Black Soul – the name that adorned countless compilations the world over in the early 1970s – is generally used to refer to that specific breed of soul music that came to the fore when James Brown rocked a pompadour, and Aretha Franklin’s weight was southward of 160 pounds. But leave it to Madlib to use the term Black Soul to refer to a dynamic point in the Black American musical experience – the mid to late 70s, when soul was giving way to disco, when the groove was on it’s way to the boogie, when funk was on it’s way to fonk. This is a mix that, like the previous entries in the Madlib Medicine Show skirts convention while testing its listener’s music acumen.

Note: Madlib Medicine Show #9 has been delayed - release is currently TBA" (Stones Throw Records)

Big Tune!!! Top drawer modern soul with an irresistible thumpin' beat that’s RARE RARE RARE, now out on our SOUL7 label for all to hear! Another quality double sider and with Billy Byrd’s throaty vocals appearing on two class songs. Produced by Georgia native Calvin Arnold, known for his funk output, perhaps it was his influence that gave this record such a solid, intense rhythm? Yes it’s the beat that really counts, few records of this nature have such an incessant, heavy groove that has so much appeal to the dance floor. Back in the ‘70s when it was first released the record went nowhere, and it’s remained extremely scarce ever since. Why such low sales? Was ‘Lost on the Crowd’ ahead of its time? We certainly think so, and NOW is the time to put that right! (Jazzman)

Originally issued in 1961 on Savoy Records and at the dwindling tail end of Nappy Brown’s initial R&B career, Coal Miner was a huge record which belonged, sound-wise at least, to his peak, some years prior. With its honking sax and sleazy Fever-esque bass line, the song probably arrived a little too late in the day to seriously trouble the charts at the time but nowadays it sounds perfect for the R&B set and is Nappy’s signature record on the Mod and Popcorn scenes, and beyond.

A few years ago, a previously unheard take of Coal Miner was uncovered, a little longer and with slightly more off-kilter percussion and sax refrains – and dig that triangle! Still keeping the stomping, rasping, honking feel of the released version in place, but amplifying the quirkiness no end, this take was probably deemed a little too unconventional for release, but again it has fast become the version today. We are pleased to finally offer up this version on 45rpm vinyl for the first and what will also probably be the last time ever! Backed up with the original Savoy take, as released, which is still an incredible sound in its own right.

The label has been named ‘Saxco’ in tribute to the late and very, very great bandleader, songwriter and arranger Sax Kari, whose long and largely unsung career enhanced that of many other artists. Sax passed away just over a year ago, with little to no tribute or fanfare in the mainstream media, and not even much noise made in R&B circles. We can only recommend further investigation into Sax’s long and winding career, and would say that any 45 bearing his credit is one worth listening to... (Jazzman)

Seminal booze blues from Amos Milburn, sparking a million spin-offs and answer records when it hit the R&B charts in the early 50s. A song which, even if you've heard it a thousand times, can't fail to put you in a better spot. Which is odd really, as the lyrics are the polar opposite of uplifting Amos missus has walked out on him and he is pleading with the barman not to kick him out on the street. And he's not asking for much, just a Scotch with a Bourbon chaser and a nice Pint to wash it down. Ah, we've all been there, haven't we!?!? (Jazzman)

Tracklisting:

Side A - One Scotch, One Bourbon, One BeerSide B - Chicken Shack

Buddy Lucas - I Got Drunk 7 Inch (Groove)

2 really superb Jump movers back to back from the always excellent Buddy Lucas. 'I Got Drunk' is a brash stomper with excellent vocals about boozing and being totally sozzled! On the other side, Buddy takes a step back to lead the band and hand vocal duties over to Almeta Stewart. (Jazzman)

"Classic Pittsburgh twin spin monster two sided double header - yes indeedy. I thought "Sloppy Drunk" was the best R&B drinking song, but I reckon "I Got Drunk" might just top it. On the flip Almeta Stewart takes the mic for a baseball-themed female vocal version using the same backing track." (Piccadilly Records)

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